The aim of this study is to identify the main differences in compositional style
in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e
Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e
Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three
Incantations for flute, clarinet and piano, and Khalagari for flute and piano).
After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural
elements, it was clear that the two composers’ composition style is different
from one another. Differences can be identified under the following main
points: form structure, melodic and harmonic content, recurring motives and
texture.
Hofmeyr makes use of traditional form structures, such as sonata form,
ternary form, and theme and variations. Johnson does not use traditional form
structures and makes use of free form structures, such as: A1-A2-A3-A4-A5-
A6-A7 (second movement from Khalagari), ABABC (third movement from
Three Incantations), and A1-A2-B-A3-closing section (first movement from
Three Incantations). The first movement from Khalagari is the only movement
where references to sonata form can be found.
Hofmeyr uses existing modes and scales in his works. Both his Sonata per
Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous
examples where he makes use of the octatonic scale and the phrygian mode.
Examples of the hexatonic scale can be found in the first and second
movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord
structures are also based on these scales and modes. Alexander Johnson
does not use any of the above-mentioned scales, but rather makes use of his
own scale (labeled as the “Johnson-scale” in this study). His chord structures
are also based on this scale.
Hofmeyr does not use themes and motives from other compositions in the
three works in this study. He does however combine themes from earlier
movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e
Pianoforte. Johnson combines motives and themes from other compositions
in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:up/oai:repository.up.ac.za:2263/46023 |
| Date | January 2014 |
| Creators | Le Roux, Johannes H. |
| Contributors | Johnson, Alexander F., Stanford, H.J. |
| Publisher | University of Pretoria |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Rights | © 2015 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
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